What it was, was Oscar

Congratulations! We survived another Oscarcast. Observations follow.

At least it wasn’t Ray Milland and Rosey Grier: The two-headed host — Steve Martin and Alec Baldwin — turned out to be a dreadful idea. Not because either was terrible, but because they simply didn’t work smoothly and effectively together. I don’t know whether Martin and Baldwin were poorly rehearsed, or just suffering from awkward chemistry. One host or the other would have been adequate, if not especially scintillating — Martin hosted the awards solo in 2000 and 2002, in not-particularly-memorable fashion — but the combination fell flat.

The sound of one man yawning: None of the major awards turned out to be a huge surprise, unless you really thought the Academy was going to pass up a chance to stick it to notoriously unpopular James “King of the World” Cameron by honoring his ex-wife Kathryn Bigelow and her magnum opus. The favorites in each of the big categories triumphed.

Double the displeasure: Expanding the Best Picture category to ten nominees was, as expected, a pointless drag on the production. No one really thought that there were more than five real contenders; namely, the films represented in the Best Director category — the victorious The Hurt Locker, Avatar, and dark horses Inglourious Basterds, Precious, and Up in the Air. Padding the show with twice as many introductory film clips merely took up air space.

Up with people: In a refreshing change, all four of the acting winners gave engaging, entertaining speeches. (I can’t prove it with verified test results, but I suspect that Jeff Bridges’s Dude-esque ramble may have been… what shall we say… chemically enhanced.) Equally refreshing, all four were people that most viewers would be glad to see win.

Sore loser: Quentin Tarantino, who looked as though Kathryn Bigelow had vomited in his lap when she won Best Director and he didn’t. I dig your films, QT, but your sportsmanship sucks.

Spare me the song and dance: We didn’t have to sit through performances of each of the Best Song hopefuls this year. A welcome omission, because seriously, when was the last time all five of the nominated songs were actually good? On the other hand, someone thought it made sense to stage an elaborate interpretive dance number incorporating music from the Original Score nominees. (Funny, I didn’t realize there was breakdancing in Sherlock Holmes.) Redeeming the moment, winning composer Michael Giacchino (Up) gave one of the night’s best acceptance speeches, encouraging young people to pursue their creative impulses and not allow naysayers to convince them that they’re wasting their time.

Didn’t work: The trend, continued from last year’s Oscarcast, of having each of the Best Actor and Best Actress nominees regaled with a speech by another celebrity. With the rare exception of an unexpected star turn by someone like Oprah Winfrey (who feted Gabourey Sidibe, nominated for Precious), these fawning tributes only serve to make both audience and nominees uncomfortable.

Worked, in kind of an off-kilter way: The tribute to recently deceased writer-director John Hughes, which culminated in the appearance onstage of numerous actors and actresses who became stars via Hughes’s legendary run of hit films in the 1980s. Cool to see these folks together in one place, but man… are we all getting old, or what?

Speaking of getting old: I understand why they do it, but I grow annoyed with the increasing insertion into the Oscarcast of no-talent young stars with no genuine cinematic credibility (i.e., the ubiquitous Miley Cyrus), just to draw in the teen audience. Uncle Oscar says: Get off my lawn, you meddling kids.

The death of me: I’m always curious to see who gets tagged with what I call the “Dead People Gig,” introducing the memorial segment honoring movie folks who’ve shuffled off this mortal coil since the last Oscar ceremony. This year, it was Demi Moore pulling double-death duty (she was also one of the participants in the John Hughes tribute). James Taylor performed an acoustic rendition of “In My Life” while the clips rolled. For once, there was no moment of shock generated by the appearance of someone I didn’t know had died. Interestingly, Michael Jackson — whose filmography consists basically of The Wiz — made the cut, while Farrah Fawcett — mostly known for TV work, but she did make several films, including such “classics” as Logan’s Run and Saturn 3 — missed.

Fashion forward: Oscars 2010 proved rather low-key on the sartorial front. Understated glamour was the norm this year, so there were fewer what in the name of Vera Wang was THAT? moments on the red carpet than at previous Oscarcasts. The most egregious offenders were Sarah Jessica Parker, whose strapless gown came equipped with an enormous silver breastplate that resembled a leftover centerpiece from an office Christmas party, and Charlize Theron, wearing what looked like two pink-frosted cinnamon rolls stuck to her bosom. Best-dressed of the evening included several of the usual suspects — Kate Winslet, Helen Mirren, Meryl Streep, and Queen Latifah. Jennifer Lopez’s lovely pink dress would have gained high honors, if not for its ridiculous train. Likewise, Best Actress winner Sandra Bullock lost points for her garish lipstick.

The voice of choice: As she did last year, voice actress Gina Tuttle contributed a pleasant and unobtrusive announcing job. And if Gina ever gets tired of that gig, Oscar producers… I’m in the book.

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Explore posts in the same categories: Aimless Riffing, Celebritiana, Cinemania, Dead People Got No Reason to Live, Listology, Ripped From the Headlines, Sexiest People Alive, Teleholics Anonymous, The Swan Tunes In

2 Comments on “What it was, was Oscar”

  1. FirstTimeLongTime Says:

    Original song used to be one of my favorite categories, but I couldn’t care less these days.

    Remember when movie soundtracks were a big deal? Has there been an movie album in the past 20 years with as many original (HUGE) hit songs as, say, Beverly Hills Cop?

    Who are these people who like Randy Newman songs? Or, rather, that ONE Randy Newman song that he writes new words to each year and calls a new song.

    • SwanShadow Says:

      FTLT: I’m with you on the Original Song category. When “It’s Hard Out Here for a Pimp” from Hustle and Flow won a few years back, the category abandoned what little credibility it had left.

      On the other hand, how many good pop songs get written these days, period?

      And I’m with you 100% on Randy Newman. The man hasn’t come up with an original idea since “Short People.”


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